Enfants Terribles: Live at the Blue Note

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Enfants Terribles: Live at the Blue Note
Studio album by Lee Konitz , Bill Frisell , Gary Peacock and Joey Baron

Publication
(s)

2012

Label (s) Half Note Records

Format (s)

CD

Genre (s)

Modern jazz , postbop

Title (number)

6th

running time

01:00:26

occupation
chronology
Someone to Watch over Me
(2011) 		Enfants Terribles: Live at the Blue Note Art Farmer & Lee Konitz: Live in Genoa 1981
(2013)

Enfants Terribles: Live at the Blue Note is a jazz album by Lee Konitz , Bill Frisell , Gary Peacock and Joey Baron . The recordings, which were made on June 4 and 5, 2011 in New York's Blue Note , were released on September 25, 2012 on Half Note Records .

background

Lee Konitz teamed up with Bill Frisell, Gary Peacock and Joey Baron in early June 2011 for a one-week engagement at the Blue Note jazz club in New York City, with none of the four musicians officially named band leader. The highlights from two nights have been selected for the present album.

Track list

  • Lee Konitz / Bill Frisell / Gary Peacock / Joey Baron - Enfants Terribles (Half Note HN 4552)
Joey Baron (2016). Photo Hreinn Gudlaugsson
  1. What Is This Thing Called Love ( Cole Porter ) 6:04
  2. Body and Soul (Johnny Green, Edward Heyman, Robert Sour) 12:08
  3. Stella by Starlight ( Ned Washington , Victor Young ) 11:02
  4. I'll Remember April ( Gene DePaul , Patricia Johnston , Don Raye ) 10:14
  5. I Remember You ( Johnny Mercer , Victor Schertzinger ) 11:44
  6. I Can't Get Started ( Vernon Duke , George Gershwin ) 9:18

reception

Ken Dryden gave the album four stars in Allmusic and praised it: "During these brilliant live performances, it never gets boring." Avoided predictability. At this meeting, the quartet covered six standards introspectively, yet stimulating.

According to John Kelman, who reviewed the album on All About Jazz and rated it 4½ stars, the idea of ​​going to a club and playing a set of standards with no plans, prejudices or precautions is not exactly new. But there is one thing a few real-book charts the Head go through -Solo-head style and to give everyone the opportunity to express themselves and to concentrate only on familiar material. It's another thing to be at a level where the material is being reinvented night after night, set after set. It's what alto saxophonist Lee Konitz did a few years ago when he recorded the great Live at Birdland (ECM, 2011) with pianist Brad Mehldau , bassist Charlie Haden and drummer Paul Motian at New York's Birdland Club . This proves that those old, worn-out standards are far from ready for retirement in the right hands, Kelman wrote. It's what he's doing again with Enfants Terribles , but this time in a completely different group, replacing the piano's chord possibilities with the more open potential of the guitar, and recruiting Bill Frisell. Konitz is not just as unrestricted and resourceful as always, Kelman continued, surrounded by three similarly creative and engaging players who range in ages from pre-WWII to early baby boomers . His creativity seems to be in full swing even when his body is moving in the opposite direction. According to the author, Enfants Terribles: Live at the Blue Note is the close cousin and worthy successor of Live at Birdland and shows that it is absolutely possible in the music world to prove the old (and similarly overused) adage which says: " You don't get older; you are getting better."

Konitz and Frisell four years later in a quartet with Jakob Bro and Thomas Morgan .

The critic of the weekly Falter wrote to Frisell's post: "Tradition Saturated away from any fussiness is also Frisell's appearance with Lee Konitz, Gary Peacock and Joey Baron of June 2011. If Konitz as clandestine Free jazz musician on Enfants Terribles: Live at the Blue Note (Half Note) flipping a standard like a glove, can you recognize the tune? play to it, whereas Frisell falls into the house with I Remember You . A pleasure in itself: Peacock's goblin-like presence on Body & Soul . "

Lloyd Sachs said in JazzTimes : "Even by the high standards that Lee Konitz set for the spontaneous remaking of songs that we have heard millions of times, this beautifully recorded live performance is full of inventions and surprises." Much of it is the interaction between Konitz and the guitarist Bill Frisell, whose design or expansion of the inventions of the alto saxophonist with sun-streaked chords and floating single note lines is a joy. Joey Baron's contribution shouldn't be overlooked, Sachs continued. “His remarkable touch and extraordinary reach are proof of whether he was behind Konitz Ornette Coleman- like opening notes to What Is This Thing Called Love? or changed the atmosphere of Stella by Starlight with its flat textured brush strokes. Peacock's lyrical power can be felt everywhere. The game has a youthful quality and a lot of humor. "

Individual evidence

  1. ↑ a b Review of Ken Dryden's album at Allmusic (English). Retrieved April 19, 2020.
  2. ↑ Lee Konitz / Bill Frisell / Gary Peacock / Joey Baron - Enfants Terribles at Discogs
  3. ^ John Kelman: Lee Konitz / Bill Frisell / Gary Peacock / Joey Baron: Enfants Terribles: Live at the Blue Note. All About Jazz, September 18, 2012, accessed April 19, 2020 .
  4. ^ Bill Frisell for President. Falter, November 2, 2012, accessed April 19, 2020 .
  5. ↑ Lee Konitz / Bill Frisell / Gary Peacock / Joey Baron: Enfants Terribles: Live At The Blue Note. JazzTimes, May 6, 2019, accessed April 7, 2020 .